This beautiful book presents a retrospective of eighty of Willem de Kooning's finest paintings and painted works on paper. The book reassesses de Kooning's critical status as one of America's greatest and most influential artists, examines the complexity of his painting techniques, and places him in the context of other artists and art movements of his era. The book serves as the catalogue for a major exhibition of de Kooning's work presented at the National Gallery of Art in Washington, the Metropolitan Museum in New York, and the Tate Gallery in London.
This text is both an exposition and a demonstration of contested terms from the current art historical vocabulary. In individual essays, scholars examine the history and use of these terms by grounding their discussions in single works of art, reading each work through current debates and methods.
This book showcases a remarkable collection of artworks donated to commemorate the establishment of The Menil Drawing Institute. It highlights the significance of these pieces in the context of contemporary art and their contribution to the cultural landscape. Through detailed descriptions and vibrant imagery, the publication honors the artists and the impact of their work, emphasizing the institute's role in preserving and promoting drawing as a vital art form.
Focusing on Willem de Kooning's unique artistic approach, the book examines his belief that art transcends concepts like progress, emphasizing instead its sensory experience. Richard Shiff explores the dual meaning of "sense" as both feeling and reason, addressing the complexities of interpreting de Kooning's work. Through detailed analyses of previously unstudied pieces, Shiff highlights de Kooning's innovative techniques and his ability to transform the mundane into art. This work offers valuable insights for art historians and enthusiasts alike, enhancing the understanding of de Kooning's lasting impact.
More Dimensions Than You Know? takes as its focal point nearly 25 paintings created in the years from 1979 to 1989, highlighting Whitten?s propensity for pushing the technical and aesthetic boundaries of painting as a medium. The catalogue includes an essay by Richard Shiff, curator of the exhibition and Effie Marie Cain, Regents Chair in Art at The University of Texas at Austin. Parsing various aspects of Whitten?s practice, Shiff?s engaging essay speaks to the irreducible aspects of Whitten?s work, establishing his invaluable contributions to the narrative of postwar American painting.00Exhibition: Hauser & Wirth, New York, USA (28.01.-08.04.2017).
"Published on the occasion of her 2015 solo exhibition at David Zwirner, Bridget Riley: Works 1981--2015 presents paintings from the last thirty-four years of her career, including images of Rajasthan, a wall painting previously shown in Germany and England, and exhibited for the first time in New York. More recently, Riley has shifted back to black and white in her large-scale paintings, marking a departure from her recent colored stripe paintings and a return to the palette of some of her earliest works." from publisher's website
The result of a deliberative process guided by careful attention to spatial relationships, Suzan Frecon’s large-scale oil paintings are composed of asymmetrical curves that result in minor and major measured areas of color.Accompanying the artist’s solo exhibitions at David Zwirner, New York and London, in 2017, this publication features a selection of new monumental paintings carefully reproduced both as individual works and in installation views to best convey the experience of seeing the work. Depending on the viewer’s position and the time of day, the contrasts of matte and sheen, positive and negative, and immediacy and radiance combine to create an ongoing visual experience of always varying subtleties.In contrast to the paintings, Frecon’s watercolors, also featured here, engage the relationship between paint and paper support. Each predetermined sheet—often from an agate-burnished old Indian ledger page—has its own innate character, properties, and irregular shape; its creases, holes, blemishes, and even faint writings become an integral component of the final watercolor.“Their truth is the paint,” Frecon says, and in a specially commissioned essay acclaimed art historian Richard Shiff examines the new body of work in relationship to painting and the experience of looking.
Herbert Brandl (*1959 in Graz) zählt zu den prägenden Protagonisten der zeitgenössischen Malerei. Seine Teilnahme an der documenta IX in Kassel 1992 und der Biennale di Venezia 2007 zeugt von seiner internationalen Präsenz. Seit Brandls künstlerischen Anfängen nimmt das Sujet Landschaft einen dominierenden Stellenwert in seinem Werk ein, wobei seine Bilder zwischen malerisch Abstraktem und motivisch Gegenständlichem changieren. Vor allem seitdem der Künstler den Berg als Motiv in seine Gemälde integriert hat, entstehen abstrakte Farbfeldmalereien und mächtige Gebirgsbilder parallel nebeneinander. Die Publikation präsentiert eine Vielzahl von Werken seit den frühen1980er-Jahren, begleitet von ganz neuen Gemälden, die eigens für die Retrospektive geschaffen wurden. Zudem geht sie besonders auf Herbert Brandls Affinität zu Gemälden von Altdorfer, Tizian und Rubens aus dem Kunsthistorischen Museum in Wien ein, die sein malerisches Schaffen nachhaltig inspiriert haben. Ausstellung: Bank Austria Kunstforum, Wien 26.1.-15.4.2012
Peter Doig (* 1959) zählt zu den großen Malern unserer Zeit. Dieser Band stellt einen Werk-Überblick aus den letzten 20 Jahren zusammen, der mit Archivmaterial sowie Zeichnungen abgerundet wird. Mit dem ausführlichen Gespräch zwischen Doig und seinem Künstlerfreund Chris Ofili, einem Essay der Kuratorin Judith Nesbitt sowie dem Aufsatz des amerikanischen Kunstautors Richard Shiff bietet dieses Buch einen informativen und guten Gesamtüberblick. Der in Edinburgh geborene Künstler wuchs in Kanada und Trinidad auf, wo er heute wieder mit seiner Familie lebt. An der Staatlichen Kunstakademie in Düsseldorf hat er seit 2005 eine Professur für Malerei inne. Seine Bilder bewegen sich in einem völlig eigenen Raum zwischen Figuration, intensiven Chiffren erinnerter Bilder und malerisch durchgearbeiteten Farbflächen. „Du kannst mich fragen, worum es in den Bildern geht, aber ich kann es dir wirklich nicht sagen, sie sind einfach Chiffren für deine eigenen Vorstellungen", so beschreibt Doig selbst seine Malerei.
